Kang Soo-yeon, as Ho-jeong, sparks well off fellow actors, the elegant Jin Hee-kyong as Yeon and Kim Yeo-jin playing the low-key Soon; among this talented ensemble it was actually Kim who gained most critical praise. Kang’s Ho-jeong ends up involved in an adultery suit, a reminder that until the draconian criminal statutes concerning adultery were overturned in 2015, the law could be a nasty weapon in the hand of any well-off vindictive husband or wife.

Mark Morris

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This is in one sense Moon So-ri’s break-out film: as Ho-jeong she is powerfully sexual, extremely vulnerable and entirely believable. In another sense, Youn’s Byeong-han is the youngest person in the film. 

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This film, which was selected for the Official Selection of the 2020 Cannes Film Festival, is the newest feature presented by Im Sang-soo, six years after Intimate Enemies (2015), as well as the fourth film by Im to receive an invitation to the Cannes Film Festival.

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In picking Kim Ki-young’s 1960 classic The Housemaid for a remake, Im Sang-soo faced a huge challenge. He wisely gave one of Kim’s favourite actors, Youn Yuh-jung, the key role of Byeong-sik while casting star Jeon Do-youn as Eun-yi. There is some irony in the fact that in his critical attack on the ultra-rich, Im was able to deploy a luxury of cinematic tools Kim Ki-young could never have imagined.

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